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George Lucas, Fascism, and Anti-Semitism A manifesto...

#1 User is offline   Hannibal Icon

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Posted 03 November 2004 - 01:54 AM

Wagner was an anti-Semite from, at the latest, 1850, when he wrote
'Judaism in Music' (Das Judenthum in der Musik). This essay was first
published anonymously in the 'Neue Zeitschrift für Musik' in two
instalments in September that year. RW took as his starting point earlier
articles in which Theodor Uhlig had attacked Meyerbeer's 'Les Huguenots'.
RW reprinted his article practically unchanged in 1869, thereby provoking
demonstrations at the first performances of 'Die Meistersinger'. It
includes the following assertions (page references are to Wm Ashton Ellis'
English translation of the Prose Works, which follows the 1869 revision):

1. Jews are hateful (passim)
2. Judaism is rotten at the core; a religion of hatred (PW3 p90-1)
3. Jewish composers are comparable to worms feeding on the body of art
(PW3 p99)
4. Jews are hostile to European civilisation (PW3 p84-5)
5. The Jew rules the world through money (PW3 p81)
6. The cultured Jew is "the most heartless of all human beings" (PW3 p87)
7. The Jews should, like Ahasuerus, "go under" (PW3 p100)

RW, however, did not explicitly advocate anything like extermination; and
in his private life had close Jewish friends who appear to have regarded
him with considerable affection. Nonetheless, his second wife Cosima held
strongly anti-Semitic views.

After RW's death, Bayreuth became a focal point for anti-Semitic and
right-wing individuals, encouraged by Cosima. This culminated in the
marriage of her daughter Eva to the right-wing ideologue, Houston Stewart
Chamberlain, who saw world history in terms of conflict between races. The
son of Richard and Cosima, Siegfried, was more balanced, ruling out racial
exclusivity at Bayreuth, but he died in 1930. His English-born widow
Winifred developed a close friendship with Hitler when he was still a
young unknown, and was largely responsible for Bayreuth's Nazi links.

A good starting point for reading about RW's anti-Semitism is the book by
Jacob Katz, 'The Darker Side of Genius'. A number of recent books have
taken a fresh look at this subject, including:

* 'Wagner: Race and Revolution' by Paul Lawrence Rose, who presented a
view in which racial and anti-Semitic ideas were the driving force behind
Wagner's creativity, even in 'Der fliegende Holländer'. Many Wagner
scholars vehemently oppose this view, in particular harshly criticising
Rose's scholarship; see for example Stewart Spencer's review ('Wagner',
January 1995, pages 46-48).

* 'Wagner and the Anti-Semitic Imagination' by Marc Weiner, is a study of
Wagner's anti-Semitism that has been met with hostility by many
Wagnerians, although other Wagnerians, including the author of this FAQ
and also Anthony Arblaster in his review ('Wagner', January 1996, pages
44-47), think that Weiner sheds light on some dark corners of Wagner's
character.

These two books refer to earlier articles by Hartmut Zelinsky which
ignited a heated controversy in Germany. Zelinsky interpreted RW as a
proto-Nazi, and attempted to demonstrate that racial and anti-Semitic
schemes lay beneath the surface of RW's music-dramas. Hartmut Zelinsky's
published writings include:

* In 'Musik-Konzepte 5: Richard Wagner: wie antisemitisch darf ein
Künstler sein?', ed. H-K. Metger and R. Riehn. Article entitled: 'Die
Feuerkur des Richard Wagner oder die neue Religion der Erlösung durch
Vernichtung', Munich 1978.

* 'Richard Wagner: ein deutsches Thema: Eine Dokumentation zur
Wirkungsgeschichte Richard Wagners 1876-1976', Frankfurt am Main 1976,
Vienna 1983.

* In 'Parsifal: Texte, Materialen, Kommentare', ed. A. Csampai and D.
Holland. Articles entitled: 'Richard Wagners letzte Karte', 'Der
verschwiegene Gehalt des Parsifal'. Hamburg 1984.

Although himself a critic of Zelinsky, Barry Millington has presented
arguments for an anti-Semitic theme in 'Die Meistersinger von Nürnberg'.
The relevant articles are:

* 'Nuremberg Trial: Is There Anti-Semitism in Die Meistersinger?', in
'Cambridge Opera Journal', volume iii, 1991. Reprinted in 'The Wagner
Compendium', London 1992 and in 'Wagner in Performance', New Haven 1992.

* 'Richard Wagner's Anti-Semitism', in the 'Musical Times', December 1996.
Reprinted in 'Wagner', May 1997, vol. 18 no.2.

Other sources that discuss Wagner's anti-Semitism include 'Aspects of
Wagner' by Bryan Magee (who has also written an interesting article on the
subject, included as an appendix to his 'Wagner and Philosophy'), 'Richard
Wagner: the Terrible Man and his Truthful Art' by M. Owen Lee, and Dieter
Borchmeyer in chapter 5 of the 'Wagner Handbook', in an appendix to his
'Richard Wagner: Theory and Theatre' and, at greater length, in his recent
book on this subject (proceedings of a seminar held in Bayreuth).

Hmcw participant Simon Weil has written a study, 'Wagner and the Jews'.
It can be found online at < http://members.aol.c...rbuch/intro.htm >.
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 01:59 AM

The Aryan Myth: Richard Wagner
Richard Wagner was the most politically incorrect composer in history and also was one of the worst anti-Semites of the 19th Century. The German composer's behavior and religious views were off the charts of civilized society. In many ways he was a monster. Wagner believed that all Jews should be burned up.

Wagner lost no opportunity, year in and year out, of fretting the life out of his Jewish friends and collaborators about their Judaism. When Levi, a Jewish conductor, conducted the world premiere of his opera, Wagner remarked that if he were playing in the orchestra he wouldn't like to be directed by a Jew. Richard Wagner was the unofficial court composer of the Third Reich. Adolf Hitler said that "Whoever wants to understand National Socialistic Germany must know Wagner." Hitler's appropriation of the Bayreuth Wagner Festival was to serve his own cultural propaganda purposes. Wagner was a cultural hero for Hitler and his Nazis. The strains of Wagner were played during the Nazis' book-burning ceremonies and when concentration camp prisoners were about to be put to death. Nazi Germany's main defense fortification was called the "Siegfried Line," after the mythic hero in Wagner's Ring of the Nibelung.


http://cghs.dade.k12...aust/wagner.htm

This post has been edited by Hannibal: 03 November 2004 - 02:01 AM

"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 02:08 AM

A SPECIAL WARNING FROM JOSEPH CAMPBELL: (For our purposes, TO: GEORGE LUCAS)

In the 1959 edition of Masks of God: Primitive [sic] Mythology, Campbell forceful argued the case that the modern study of mythology grew out of a Northern European, Romantic intuition about Aryan language and culture that was an intellectual rationale for a mythic support of the antisemitic politics of Nazism. At the end of this argument, Campbell mythoclastically warned: "Clearly mythology is no toy for children, nor is it a matter of archaic, merely scholarly concern, of no moment to men [sic] of action. . . . The world is now far too small, and men's [sic] stake in sanity too great, for any more of those old games . . . by which tribesmen [sic] were sustained against their enemies in the days when the serpent still could talk" [12]. Campbell here is demonstrating a sensitivity to the first two critiques mentioned above.
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 02:18 AM

http://www.depauw.ed.../3/nagl3art.htm


SF, Occult Sciences, and Nazi Myths

It is not my intention to make light of National-Socialism by interpreting it in terms of picturesque fantasies. However, to neglect and to view as harmless the totally irrational elements of Nazism, evident from its very inception, has at least partially helped to conjure up a seemingly "incomprehensible nature"' of the Nazi actions.

In National-Socialism the contradictions and irrationalities of a classical capitalist socioeconomic system and its power structures were transmuted into an apparently "natural" ideology and apology. The exploitative and class-bound power became racism, with a master race and its leadership mystique; cycles of economic crisis and other-directedness became the cosmic law of recurrent cycles; the alienating character of science and technology misused as means for ruling became central concepts of pseudo-religious secret cults; the backwardness of economy and technology as well as of prevailing social conditions became an obscure mixture of industrialism run wild with a "Blood and Soil" theory. The continuation of obsolete ruling classes was safeguarded by myths of "conspiracies," while the oppressed masses were offered scapegoats as an outlet for repressed aggressions.

Anyone who is unwilling to identify the apologies for irrationality in "serious" philosophy (from Schopenhauer and Nietzsche to Spangler or Jung) as leading to obscurantism, will naturally be stunned to see that such fantasies are suddenly taken very seriously indeed when fascism comes to power.

By 1919 the German bourgeoisie must have felt any means to be justified in the defense of its power. As of this time, myths and magic moved out of the drawing-rooms and coffee-houses to fight against reason and revolution. The flood of pseudo-scientific pamphlets and treatises became overwhelming. SF, read by the social classes that were not reached by pseudoscientific and philosophic pamphlets, also succumbed to such irrationality. The idea that the time was ripe for a "spiritual re-orientation" in literature too was ceaselessly suggested by such authors. They called for sensations and imaginative fantasies that would help to conquer gross "materialism" and its literary counterpart, realism. One seemingly non-political articulation of these tendencies went as follows:

There are many indications that mechanistic materialism--derived from the exact sciences which has impressed its stamp on the last decade, is at last dying out, due to the recent spiritual revolution. Obviously, the transcendental longings of the majority of humanity cannot be suppressed in the long run.... To begin with, we have again arrived at the point of view of "wonder"--i.e., we no longer dismiss as nonsense all things that are not explicable in terms of the known laws of physics. Mysterious connections between human beings, independent of spatial and temporal separation, spooks, the appearance of ghosts, all are again in the realm of the possible.2

This quotation comes from the magazine Der Orchideengarten which was devoted to publishing only fantastic fiction and drawings--analogous to American "weird" and "fantasy" SF magazines. Max Valier, the later rocket pioneer and chairman of the "Society for Space-Flight," who toured the country lecturing about the end of the world, about Atlantis and Lemuria, about Glacial Cosmogony and the breakthrough into Space, and in 1929 made an unsuccessful attempt to interest Hitler in the military potential of rockets, was even more explicit, whether writing alone--

Our present time, more than any other, requires a truly cosmic source and center for spiritual orientation. We need a tremendous, even super-Terran shock, in order to regain a sense of our identity which we have lost in the whirlpool of everyday selfishness.... On the basis of a new theory of cognition we will seek a more profound knowledge; and for our emotions, we will seek sensations of truly primaeval shock, so that even the end of the world and of this Earth shall be a constructive experience.4

--or together with G. W. Surya:

We believe that astronomy and astrophysics among the natural sciences are by the nature of their subject-matter particularly suited to give rise to that elevation of thought, that spiritual revolution, which we so desperately need if the fate of our Fatherland, yes, even that of the entire world, is to take a turn for the better.... Only the return to a profound, transcendental world-view can hope to heal our wounds from the inside .5

Valier went on to make his nebulous metaphors of contemporary political and social realities more precise by stating that "he felt obliged to regard Einstein ... as a representative of the extreme left."6 A new publication of Surya's, The Metaphysical and the World War, which attempted to prove that world wars are not due merely to human activities but that "other forces" were also at work, was more forthrightly touted as "an extremely important political treatise."7

The political function of such seemingly highly transcendental theorizing is clearly demonstrated in the works of the former Cistercian monk, Adolf Joseph Lanz, alias "Jörg Lanz von Liebenfels," alias "Dr. Jörg Lanz." He was the founder of "Theozoology" and the "Ordo Novi Templi" (ONT). In his works, terms like "materialism" and "egoism" become cyphers for rational politics, socialism, revolution, and "Judaeo-Bolshevist intellectualism." "Spiritual revolution," "Faith in transcendence" and "idealism," on the other hand, stand for social appeasement, reactionary domestic policies and a nationalist foreign policy:

in the course of its further development the Talmudic-Tschandalic Empire succeeded in harnessing the intelligence of the Aryan Christians to its purposes by way of the ... secret society of Free-Masons. This society of obscurantists is responsible for the so-called "Enlightenment," the various revolutions, liberalism, socialism and materialism in the 19th century, and for the Bolshevism in the 20th .... During the Middle ages...there was no proletariat and no proletarian problem. This class only came into being through the daemonic efforts of modern Free-Masons and their false doctrines of the so-called "Enlightenment."8

Anyone who sees reason as the highest activity of the human mind is as backward as those Renaissance scholars who regarded the Earth as the centre of the universe.9

The conceptual manure-heaps, the mental excrement that is materialistic-rationalistic-social-democratic-Bolshevist-Tschandalic philosophy and science of the modern period will not be of even historic interest in future generations.10

Lanz derives these insights from his "theozoology" and "racial metaphysics," each of them a kind of occult science. If one subtracts the no longer fashionable overt racism, racial metaphysics could be seen as the blueprint for a considerable part of the SF produced nowadays:

Practical race-metaphysics are concerned with research into the history of the races before their earthly development cycle (pre-terrestrial) ... into the future of the races following their earthly period (post-terrestrial), and finally with research into the extra-sensory, extra-terrestrial, cosmic forces that influence racial development in the present.11

The inherent contradictions of this or similar systems will not be discussed here. An analysis of such items as the simultaneous rejection of Darwinism and the acceptance of the pseudo-Darwinist "survival of the fittest," or the arguments for a universe peopled with intelligent beings which are contradicted by the concept of a racially ethnocentric universe, would merely illustrate the irrational basis of these insane systems in detail. It seems more fruitful to point out the striking congruence of such constructs with the psychotic symptoms and fascist tendencies of the "authoritarian character" such as (1) the sado-masochistic desire for submission to an irresistible external force (variously interpreted as an "agent" of Providence, or Nature, or Fate, etc.), with the concomitant desire to make weaker people pay in compensation for it; (2) the projection of one's own destructive and primitive drives onto unpopular minorities; (3) the rejection of rational politics, indeed, of any and all intellectual enlightenment; (4) the legends of "conspiracies."12

The degree to which conspiracy fantasies were pure projections of their own secret intentions is demonstrated by the way they were first nurtured in occult-science groups of a secret society kind. These groups and their obscurantism were of considerable significance in the early development of the Nazi Party, its ideology, and its later cadre organization in "orders.13

From the confused mass of abstruse concepts that were used in SF, four vague attempts at systematization can be abstracted: "Glacial Cosmogony," the Atlantis/Thule myth, Theozoology, and the Hollow World theory. These systematizations could mingle, and lean one on the other.

Glacial Cosmogony or the Universal Ice Doctrine (Welteislehre) and the Atlantis myth had a particularly close relationship. Atlantis (or Thule) represented the Earthly Paradise and the original home of the Teutonic Aryans, while the cyclic recurrence concept of Glacial Cosmogony ensured that Atlantis would rise again. Thus the Atlantis myth and Glacial Cosmogony became the dominant themes of German SF in the 1920s and 1930s. Either the re-emergence of Atlantis caused the submergence of the countries of the Entente14 (possibly according to the principle of communicating vessels), or remains of Atlantis, which had been destroyed by cosmic events, were discovered in space, admonishing the German astronauts to reconstruct the legitimate Aryan (i.e. German) global empire, to return to racial purity, to a leadership mystique and to irrationalism called "Aryan science":

Human beings were much closer to the soil in those days. They controlled the mysterious forces of nature not by virtue of their knowledge, let alone their science, but by virtue of their very being. The more humanity learned to think rationally, the more they lost their visionary powers. They delighted in their cleverness and failed to notice the waning of their primaeval powers.15

Naturally, the various crashes of the Moon onto Earth in Glacial Cosmogony always occurred at times of racial and ethical turpitude.

The Atlantis-faith and Glacial Cosmogony also inspired the about 600 members of the "Society for Space Flight"15 who wished to escape from the German misery by means of spaceships. They wanted to discover "new worlds, as modem conquistadors";17 they planned to augment Germany's greatness by building a space-station whose "strategic value" was among other things to consist, as Willy Ley wrote, in "creating tornadoes and rainstorms, destroying marching troops and their supply-lines, and burning entire cities."18 Thanks to the active propaganda of this society, the idea of space travel grew so popular that moon-rockets became a regular item in carnival parades, and Fritz Lang was stimulated to make the film The Woman in the Moon (1928) for which he asked the Society for expert advice.

The leading Nazis had a special weakness for the Atlantis myth. The racist professor and pamphleteer Herman Wirth played a leading role in this connection, advocating in their inner councils "a tremendous turning back of culture, away from the age of reason and consciousness, toward the age of a 'sleepwalking certainty,' the age of supra-rational magic." Heinrich Himmler and Wirth founded the "Study Group for Spiritual History" "Deutsches Ahnenerbe" (German Heritage) which propagated such pseudo-sciences and which was, for example, responsible for the deep-freeze experiments (with subsequent coition, "an ancient folk-remedy"!) in the concentration camps, as well as for the collection of skeletons in Strasbourg plentifully supplied from murdered "inferior race" specimens.19 Thus they found praiseworthy the efforts of Government Building Counsellor (Regierungsbaurat) Edmund Kiss, one of the most successful exploiters of the Glacial-Cosmogony/Atlantis themes. Apart from general adventure novels, he wrote a tetralogy20 in which he presented a mythologized version of the fall of the German empire, its reconstruction, and its coming world supremacy under fascist rule.

In Kiss's first volume, The Glassy Sea, John's apocalypse, which "embodies the primaeval knowledge of the cosmos and our world,"21 is re-interpreted as a description of the global catastrophe which resulted from the fall of the "tertiary moon." Before that event there had been order in the world: slaves had been trained with the "mammoth whip" (pl2O). Now the time has come for the "blue-eyed blonds" to "keep their heads high under the bludgeonings of fate" (pl69), and to ensure "the continued existence of the human race" by seizing the available women--motto: "Make them trust you, then grab them" (p240).

In the second volume, Spring in Atlantis, the "Ases" (i.e. Aryans) have succeeded. They have multiplied rapidly in their northern kingdom, to the point where they have built the "organic community of a world-wide empire" (p11) with its centre and capital in Atlantis. "Slant-eyed brown-skins" work for the "blonds with the narrow skulls." Thanks to an effective "spiritual guidance," the Ases are revered as "white gods" (pl2, pl8). "The slave nations visit Atlantis in order to take the profound and ineradicable impression of the overwhelming and irresistible might of the Nordic will back to their distant homes" (p4l). (Hitler had the same ideas concerning the measures he would employ to inculcate a "master-consciousness" in the "non-German population of the occupied Eastem zones": "He also thought that superstition was a factor that had to be reckoned with in the business of leading men, even if one is oneself quite superior to it and laughs at it"; "the only allowed purpose of geography lessons should be to teach that the capital city of the Empire is called Berlin, and that everybody should have visited Berlin at least once in his life"; "once a year a troup of Kirghizes will be given a guided tour through the capital city in order to impress their imagination with the might and power of its stone monuments.")22 Back to Kiss: the "Racial Bureau of Asgard" (pl7) supervises the maintenance of racial purity in the master race;23 however, the leaders have to make the same concessions that the Nazis found unavoidable:

The desire of millions [is] to create a granite racial cornerstone as the foundation of the empire, not a block of absolute racial purity--the sins of our forefathers have made that impossible--but a block of precious racial assets with the wealth of the Nordic soul as its important heritage. (p278)

The hero already has the fixed "Führer stare" that Hitler is supposed to have practiced in front of his mirror, and that is strongly reminiscent of the results of a hyperactive thyroid:

But in the same moment...the golden spark shone again from the depths of the grey compelling eyes, the spark that constituted the mystery of the child-like radiant essence of this man. When this spark died, the eagle features set into an exp​ression of iron-willed and predatory determination, and the pale-grey icy glare compelled many an enemy, not usually given to such actions, to avert his eyes. (p72)

The third volume, The Last Queen of Atlantis, shows the empire of the Ases at the height of its power. The "Nordic men" live in "isolated castles and fortified farmsteads on the border marches." Atlantis continues to provide them with "racially pure" or pedigreed women (p28)--as we can see, precisely the way of life that the Nazi elite envisioned for itself in occupied East European territories:

We watched the labourers for a while, those strong, animal-like Zipangus, whose skulls are bound in early infancy to develop backward so that they can be kept as the group designed for physical labour. (p48)

We Atlantians knew from our millenial history, so full of conquests and defeats, that only a caste of higher human beings can effectively govern the globe that is our beautiful Earth. Inferior races must be trained and shaped to fulfill the needs and purposes that promote the growth of the realm. (p49, and similarly p258)

Alas! The "hammer of fate" (p101) "strikes with mighty blows" (p118), the appearance of a new Moon (ours) dooms Atlantis, and the Ases are once more reduced to a people who must "fight for their place in the sun" (pl92).

In The Singing Swans from Thule, the surviving Atlantians fight their way (bearing with them, naturally, the blue and white swastika-banner of Atlantis) back to the country of their origin. In their "struggle for life, territory, and power" (p27) the principle of leadership is re-asserted: "Desperate situations can only be saved if one man commands and the others obey" (p65). In order that even the dimmest reader will understand the reference, the Ases find "Teutenland" inhabited by a "Nordic peasant population of...fairly good race" (p208). With the genetic help of the natives, the Ases breed--in a world full of "coloured rabble," "human animals" and "useless men" (pl83)--"a new, hard and chill nobility" (pl88). In order to achieve this, they occasionally raid neighbouring tribes for "blood stock" (pl69), to use Hitler's terminology.24 The novel culminates in the following statement:

Only a man who will protect both his aims and his freedom with a keen sword in attack and defence, can retain mastery over his life on this earth. Attack is his best policy. It is never a question of our right to do so. This is ours by virtue of our existence. It is a question of might. (p206)

The things which Kiss projected into the distant past, and which Hitler and Himmler wanted to realize in Eastern Europe, were projected into the near future by Paul Alfred Mueller (pseudonym "Lok Myler") in his pamphlet series Sun Koh, The Heir of Atlantis, and Jan Maygn.25 The heroes, charismatic leader types, have been chosen by fate--and also provided by it with the resources of a sophisticated and extremely powerful technology. It is their vocation to create new and arable territories for the German people and the White races. This they achieve by raising Atlantis out of the ocean and by making Greenland (Thule) arable. The manner in which "Sun Koh" and "Jan Mayen" treat the rest of humanity in the pursuit of their aims is distinguished from Nazi methods only insofar as the fictive inferior peoples speedily submit. Mueller was also one of the authors who propagated the "Hollow World" theory. This theoretical import from the USA experienced the height of its popularity in 1941-42, when the German Fleet Ministry apparently actually performed radar experiments, that would have--were the theory correct--permitted them to observe the Scapa-Flow from Reugen in the Baltic Sea. The Hollow World theory was tolerated by the Nazis27 but had only a few adherents in the party's higher echelons. Thus Mueller had to maneuver carefully when he tried to make the Hollow World theory into the official world-picture of the Nazis. In his novel, the high Nazi party functionary who has been converted to the theory has a fatal accident on his way to speak to the Fuhrer.

"Theozoology," propagated by Josef Lanz in the Ostara pamphlet series, The Library of Blonds and Males' Rights,28 was not overtly adopted in official Nazi treatises, and was only rarely exploited in SF.29 However, this theory shows the most obscure motivations of racist Manichaeism, ideas that are still widespread in SF today. Lanz cannot even lay claim to being the originator and inventor of this sexually-neurotic delusion system. A textbook case for psychoanalysis, Lanz merely reinterpreted the theosophic anthropogenesis of Blavatsky and Besant in sexual terms. In theosophy, mankind fell because the men copulated with female animals; in Lanz's system "all calamities in the history of the world ... have been caused by the liberated woman."30 According to his theory, first announced in 190531 (August Strindberg was one of the first converts):

The race of full-blooded and whole Aryan Man was not the result of natural selection alone. Instead, as the esoteric writings indicate, he was the result of a careful and conscious breeding process by higher and different kinds of being, such as the Theozoa, Elektrozoa, Angels, et sim., which once lived on this Earth.32

They were perfect electro-biotic machines, characterized by their supernatural knowledge and power. Their knowledge encompassed everything to be found in the universe and beyond, in the metaplfysical spaces of the fourth, fifth and nth dimensions: They perceived such objects by way of their electro-magneto-radiophotic eye on their forehead, the rudiment of which is the human pineal gland. They had knowledge of all things, and could read past, present and future from the ether. This is why they performed the office of oracles until well into historical times and live on, even today, in mediums. They possessed supernatural, "divine" powers, whose centre is located in the lumbar brain. (Note: see the "magic belts" that conferred inordinate power on gods and demons; the "invisibility hood" of Siegfried and Alberich.) Their bodies exude rays of fire and light, which ... materialize on the one hand and dematerialize on the other, breaking down atoms and reconstructing them, canceling out gravity.33

All harmful and useless species of plants, animals, and humans are naturally the work of the "Daemonozoa" (i.e. fallen angels). The original sin of the "Homo sapiens or, more precisely, the Homo Arioheroicus"34 was caused by the women of these blond, god-like Aryans, who--then as now--were attracted, "because of the magnitude of the member," to the male anthropo-saurians" (with their "penis bone"!) and to their descendants, the man-animal races" (Negroes, Mongolians, Jews, etc.). The women copulated with these lower beings "more sodomitico."35 Especially the facial features of the "Bolshy-Jewish blood-hounds ... remind us even today of the horrible faces of antediluvian dragon-monsters"; they are the direct "descendants of...the two-legged dinosaur-hominids" and properly still belong to "the animal kingdom"; Rosa Luxemburg, the murdered leader of the German left and Jewish by origin, was a "small, pure-breed Bezah-dwarf"--"just like those bred 2000 years ago in the temple-zoos of Palestine."36 Bolshevism, Marxism, Sovietism, Communism, Socialism, Democratism ... are offshoots ... of these primaeval, base, and inferior racial origins."37 In order to correct these racial and political conditions, the Aryans must practice scientific racial purity and breeding:

Through conscious and goal-oriented influencing of the secreting glands, we shall be able in the coming two centuries to rebuild atoms and cells of all living beings and ... finally to create a new human race, which will develop out of the Aryoheroical one.38

Any such technique, "the technology ... [And] all higher scientific wisdom ... is to remain the secret knowledge of a numerically small, pure-bred, heroic-Aryan ruling elite":39

A newly bred slave being with crude nerves and strong hands whose mental potential has been carefully limited ... will perform for us all those jobs for which we have not invented machines.... The proletariat and the under-humanity cannot be improved or saved or made happy. They are the work of the Devil and must simply be--of course humanely and without pain eliminated. In their place, we will have biological machines, whose advantage over mechanical machines will be that they repair and procreate themselve.... This 'robot' will be the key to the future since his existence will solve not only the technological but also the social and racio-economic problems--and thereby all political problems--that beset us. Total equality is nonsense!... The social question is a racial question and not an economic one.... Who can say where the equality of rights should stop? Why should it stop with the Australian aborigine? Gorillas, chimpanzees and bats have exactly the same claim to socialist "human rights."40

Lanz found himself in illustrious company with such ideas. Oswald Spengler articulated the fascist-technocratic concept of technology, science, and philosophy as instruments for domination in much the same manner--the Aryans were to again become "the learned priests of the machine"41 and cultivate the sciences as a ruling-class religion:

The group of Fuhrer-natures remains small. They constitute the pack of the true beasts of prey, the pack of the talented, which will dominate the growing herd of the others in one fashion or another.

There are ... not only two kinds of technology ... but also two kinds of human beings ... those whose nature it is to command, and those who obey, subjects and objects of any political or economic processes. The most significant symptom of the impending decline and fall is to be found in what I would like to call the betrayal of technology.... Instead of keeping scientific knowledge secret, the knowledge that represents the most sacred possession of the "White" peoples, it was boastfully revealed to all and sundry in universities, in conversations, lectures, and publications.... The irreplaceable advantages that the white peoples held have been wasted, dissipated, betrayed.42

Himmler and Hitler43 wanted to prevent the imminent break-down of "Western" civilization, in the conquered East-European territories at least, by means of precisely those methods that they imputed to the Judaeo-Bolshevists: "try to eliminate the national carriers of intelligence within a few years, in order to make the peoples ... ready for a lot of permanent slavery and oppression."44 The population of the "Eastern Territories" was, according to the ideas of Hitler and Himmler, to live in isolated village communities and develop their own "magic cults": "It would be best to teach them to understand only a sign language. Radio would provide unlimited music, which is good for such communities. They are not to learn to use their brains."45

Lanz's disciple Hitler also considered "Pure and applied science ... an almost exclusively Aryan achievement."46 Only "when knowledge re-acquires the character of secret, initiate knowledge, and ceases to be accessible to all and sundry, will it again fulfill its normal function, namely that of being the means and the power to control both human and non-human nature."47 With his undeniable instinct for what was publicly acceptable, Hitler discussed his favourite theories only among intimates. These ideas proved to be garnered almost exclusively from "popular scientific" treatises such as those of Boelsche and Lanz:

I have been reading a work on the origin of human races. I used to think a great deal about this subject in my younger days, and I must say that if one looks more closely at the traditional myths and legends ... one arrives at most peculiar conclusions. Nowhere is there a development within a species that is comparable in degree and kind to that which man must have undergone in order to cover the distance between a quasi-simian state and his present mode of being.... Myths cannot have been constructed without any foundation. Any concept must be preceded by the phenomenon from which it is derived. There is nothing to stop us, and Indeed I believe we would be right, to assume that mythological characters and situations are representations of a former reality.48

A new type of human being is beginning to manifest itself, very much in the scientific sense of a new mutation. The old, hitherto extant species of man now necessarily enters into the biological stage of degeneration.... The one will sink underneath man and the other will rise far above present day man.... Yes, man must be transcended.... The new man lives among us. He exists!... I shall tell you a secret. I have seen the new man, fearless and pitiless. And I was afraid.49

Lanz could not only claim to be one of the "grandfathers of Fascism and National Socialism,"50 he is also a legitimate ancestor of modern SF. As he himself stated in 1930, "a whole new generation of authors is already living off their exploitation of 'Ostara'-ideas."51

A science and technology functioning as a mass religion and the "transcending of man" are even now the favourite concepts of precisely those technocrats (and their literary allies) who think of themselves as particularly progressive and unprejudiced. Just as in fascism, frequently they also propagate a sane-way-of-life pseudo-philosophy, usually consisting of a Social-Darwinist barbarism as style of government and principle of social organization. As Hitler said: "Yes, we are barbarians. We actually choose to be such. It is a princely title. It is we who will renew the world, This world is dying."52 The epitome of all counter-revolutionary slogans, Lanz's "In our most distant past lies our most modern future,"53 was the sociopolitical motto of fascism. In SF--German and U.S.--this concept is still constantly utilized and reanimated (as for von Daeniken's bestselling title Memories of the Future, one could almost start a copyright-suit against him). Its traditional conjunction with racism has no doubt become less prevalent, but the programmatic combination of "sword and sorcery" as power-style and social structure with "science fiction," standing for uninhibited capitalist and technocratic industrialism, is still with us.
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 02:29 AM

Remember This?
http://www.uexpress....l_date=19990704

"THE PHANTOM MENACE" PLAYS FAST AND LOOSE WITH STEREOTYPES

Everyone's a victim these days, so America's touchiness industry is dedicated to seeing group slights everywhere. But sometimes even touchy people are right. Complaints about the new "Star Wars" movie, for instance, are correct. "Episode I: The Phantom Menace" is packed with awful stereotypes.
Consider the evil Neimoidians. They are stock Oriental villains out of black-and-white B movies of the 1930s and 1940s, complete with Hollywood Asian accents, sinister speech patterns and a space-age version of stock Fu Manchu clothing. Watto, the fat, greedy junk dealer with wings, is a conventional, crooked Middle Eastern merchant. This is a generic anti-Semitic image, Jewish if you want him to be, or Arab if you don't.

Law Professor Patricia Williams says Watto looks strikingly like an anti-Jewish caricature published in Vienna at the turn of the century -- round-bellied, big-nosed, with spindly arms, wings sprouting from his shoulders and a scroll that says "anything for money." Perhaps Watto isn't supposed to be Jewish. Some people thought he sounded Italian. But by presenting the character as an unprincipled, hook-nosed merchant (and a slaveowner, to boot), the movie is at least playing around with traditional anti-Semitic imagery. It shouldn't.

The loudest criticism has been directed at Jar Jar Binks, the annoying, computer-generated amphibian who looks like a cross between a frog and a camel and acts, as one critic put it, like a cross between Butterfly McQueen and Stepin Fetchit. His voice, the work of a black actor, is a sort of slurred, pidgin Caribbean English, much of it impossible to understand. "Me berry, berry scay-yud," says Jar Jar, in one of his modestly sucessful attempts at English. For some reason, he keeps saying "yousa" and "meesa," instead of "you" and "me." He is the first character in the four "Star Wars" movies to mess up Galactic Basic (the English language) on a regular basis.

Trouble with English is one of the key traits of a racist caricature, from all the 19th-century characters named Snowball down to the sophisticated wit of Amos 'n' Andy. Whether endearing or pathetic, this trouble with language is supposed to demonstrate the intellectual inferiority of blacks. Childlike confusion is another familiar way of stereotyping blacks, and Jar Jar shows that trait too. He steps in alien-creature doo-doo, gets his tongue caught in a racing engine and panics during the big battle scene. He is, in fact, a standard-issue black caricature, the "coon" who becomes hopelessly flustered when called upon to function in a white man's world.

A stereotype on this level is more than an insult. It is a teaching instrument and a powerful, non-verbal argument saying that racial equality is a hopeless cause. If blacks talk and act like this movie says they do, how can they possibly expect equal treatment?

What is going on in this movie? George Lucas, director of the "Star Wars" movies, says media talk about stereotypes is creating "a controversy out of nothing." But many visual cues support the charge that stereotypes are indeed built into the film. Jar Jar has head flaps drawn to look like dreadlocks. The ruler of his tribe, Boss Nass, wears what looks to be an African robe and African headdress. (Nass, fat and slobbering, seems to come right out of an old movie about the Zulu.) A Neimodian senator named Lott (Trent Lott?), representing the evil viceroy Nute Gunray (Newt Gingrich?), wears a version of a Catholic bishop's miter and a Catholic priest's stole over a dark robe. This can't be an accident. It duplicates, almost exactly, the appearance of a real bishop. It's a small reference, but an unmistakable one. So Catholics, along with Asians and Republicans, are at least vaguely associated with Neimoidian treachery.

Lucas is a visually sophisticated and careful moviemaker. In a TV interview, he said that he researched imagery of Satan in every known culture before deciding on how the evil warrior Darth Maul should look in the film (tattooed, with horns). A "Star Wars" book that came out with the movie,"The Visual Dictionary," describes in detail almost every image used in the film. So it's hard to believe that all the stereotyped imagery just happened.

One of the keys to Lucas' success is that his movies are made up of brilliantly re-imagined themes and scenes from earlier films (World War II aerial dogfights, cowboys and Indians, swashbuckling sword fights, a "Ben Hur" chariot race, etc.). After three very inventive "Star Wars" movies, the not-so-inventive fourth seems to have fallen back on some tired Hollywood ethnic themes and characters he mostly avoided in the first three.

So "The Phantom Menace" offers us revived versions of some famous stereotypes. Jar Jar Binks as the dithery Butterfly McQueen; Watto, a devious, child-owning wheeler-dealer, as the new Fagin; the two reptilian Neimoidian leaders as the inscrutably evil Fu Manchu and Dr. No. What's next -- an interplanetary version of the Frito Bandito? The "Star Wars" films deserve better than this. Let's put all these characters to sleep and start over in the next movie.
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 02:37 AM

The Jewish Perspective:


by Mirjam Lübke


Obviously we often find (male) Jewish characters in all fantastic films, that deal with social-criticism – not depending on their real political interest or only pretending to have it – that show the others the righteous way to act, as if this way was revealed to us since we were born. It supports a prejudice, which is with all good intentions still a cliché of Jewry, like the idea of the extremely intelligent Jewish scientist as it was caricatured in the figure of Dr. Zarkoff – played by Chaim Topol in the Flash Gordon movie (1980). A very cruel scene shows him, as he remembers his youth in Nazi-Germany, while he is tortured by the emperor’s servants.

While we can find Jewish ideas without the appearance of Jews in films like Star Trek and Dune, Jewish characters were weaved into many films of the last decades intentional, directly connected to the plot. Those films were influenced by the urgent problems of their time, like the abolition of race-separation, threat of an atomic war and the social revolution by flower-children.



Leni Riefenstahl and Star Wars: From Shylock to Palpatine?

When National-Socialism was reduced to be the ultimate movie-event-menace, it is not astounding, that Nazi-esthetics were a means of style in the space-operas of the eighties. Is this adoption a tribute to the German productions of the thirties and forties? The following view on the Star Wars movies is very critical, but it shall show the (ab)use of myths of all kind – even self created myths - without inhibitions even in this genre.

Just think of the final scene in SW IV – A new hope- which was taken from Riefenstahl’s Triumph of the Will, a movie about the party-convention in Nuremberg 1935. Though this film was a commissioned work – by Adolf Hitler, Riefenstahl’s close friend – and is one of the typical propaganda works of this time, it’s esthetics are still highly estimated by some filmmakers – so as George Lucas.

The technique of the so called "light-dome", which bathes the presented person (Hitler) in vertical rays of light, is used in that scene mentioned above to surround the heroes of rebellion with supernatural glamour. This is no result of my thoughts – although I saw the film during my studies – it is published like that on LucasArt’s CD-Rom Behind the Magic.

But this is not the only relation between Star Wars and Nazi-esthetics – there is also a tribute to their architecture in Ralph McQuarrie’s building designs and to their favorite composer Richard Wagner in John Williams soundtrack. The national-socialists were masters of subtle propaganda and knew how to bring out strong emotions through pictures and music…and the feeling of awe!

So pictures within the SW-universe become contradictory: On the one hand, uniforms and weapons remind of imperial German Kanonenbootpolitik during the reign of the German emperor – but the average Sci-Fi consumer is already used to this Japanese or German style.

On the other hand, those devices of style provoke awe, emotions and - hate! If the pictures of heroes are so close to those of the German warrior-ideal, why not the pictures of foes and enemies too? One could discuss about the emperor’s appearance in Return of the Jedi, but this would lead back to the Ferengi question- is it the prejudice in ourselves? But is it really accidental, that they engaged an actor, whose favorite roles on stage are those often discussed Jewish characters? (I think, this is a very European point of view, you might see it more lazy in America.)

But while this last point might be discussable, we find a typical national-socialist device to present an evil character in the new Star Wars movie, again related to my favorite villain Palpatine. It finally becomes obvious in one of the Who-is-Who-publications: Palpatine’s admiration for modern arts.

The university of Bochum just published a work about this stylistic device, which is still used in German TV-mysteries nowadays, written by authors that learned their handcraft in the thirties, or were apprentices of such writers. Modern artists or admirers of this kind of art are mostly presented as lunatic, ill, criminal.

Where is the relation to Star Wars, you might ask?

Well, what does this book say about Palpatine: (In the German Version, I don’t know the American) From Palpatine’s interest for the strange art of alien entities Queen Amidala had learned that the Senator had aliened himself from the culture and the interests of his own planet. So – love for modern arts leads to alienation?

People loving "entartete Kunst" (degenerate art) must be degenerated themselves?

A film which is planned to the last detail – for example Watto’s (a discussion about Watto would fill a few pages more) edge tooth – would it leave such things as the design of Palpatine’s rooms to chance?

Now, is Star Wars a fascist film?
I wouldn’t go that far. But I find Lucas enthusiasm about Riefenstahl quite astounding. Of course, the myths used by the national-socialist are not invented by them, but based on much older ones. Obviously they can be used universally.

I’m a fan and I always enjoyed my Star Wars villains – especially Palpatine – but sometimes I can’t switch my brain off while remarking such details.



Mirjam Lea Lübke, March 30th, 2000

http://www.talmud.de/aufrufe.htm
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 02:43 AM

The NAZI Perspective on Star Wars:

Stormfront White Nationalist Community > General > Music and Entertainment > Movie Reviews > A White Nationalist interpretation of Star Wars

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taran2Spoilers spoilers spoilers.

Jews have often claimed that Star Wars is a Jewish-themed movie, with themes of good triumphing over evil. That's interesting, but how about considering it another way?

A great and powerful Republic rules the galaxy. At the center of the Republic is the Senate. From all of the planets of the great Republic, the various alien races send their representatives. In short, the Senate is multicultural to its core. For that reason, it is also weak, and susceptible to subversion.

The protectors of the Republic and its free society are the Jedi Knights. This institution, too, has become highly multicultural. As seen in Episodes I and II of Star Wars the Jedi council has many different species represented on it. Coincidentally, the Jedi council has become corrupt.

A large battle is fought around the planet Naboo in Episode I. A combination of human Jedi knights and the human residents of Naboo successfully defend the capital from the robotic invaders. The leader is Queen Amidala, played by a Jewish actress, Natalie Portman, who does not look at all Jewish. In an entirely separate engagement, the lizard people of Naboo, including Jar-Jar, defeat the robotic invaders to protect their half of the planet. Instead of seeing multiculturalism as a strength, the residents of Naboo formed an alliance of convenience. They did not mix their forces in together. They merely fought on the same side.

In contrast, the scheming, cablistic "Jew" at the center of the conspiracy against the Republic, Palpatine (played by a Scotsman who could perhaps pass as a Jew), resorts to a mongrel breed of clones for his army. He convinces a mixed-race bounty hunter, Jango Fett, to be the seed stock for his clone army. The clones are put in white armor, as if to hide their true lack of white racial heritage. Palpatine's goals are not clear, except that his committment is total to subterfuge and deception as the path to his own personal power. Palpatine's lust for power is only equalled by his greed, as seen in the Trade Federation fiasco portrayed in Episode I. Palpatine exploits the multiculturalism of the Senate and the Jedi Knights on his way to destroying them. As a conniving, ruthless, self-serving, megalomaniacal Jew-like character, Palpatine is in every way a master of the Dark Side.

Eventually, the multicultural Jedi council proves weak. At a crucial moment, a white Jedi trainee, Anakin Skywalker, turns into a race traitor and goes to work for Palpatine's Jewish conspiracy. As if to hide his true white racial heritage, Anakin is put inside a black suit of armor. Soon, the Jedi are wiped from the face of the galaxy, save for a small white remnant.

Like the Jedi, the multicultural Republican Senate, later the Imperial Senate, is eventually put under the thumb of Emperor Palpatine, and then disbanded.

The emperor Palpatine finds a Jewish general, Moff Tarkin, to run his Imperial starship fleet. Tarkin does prove effective at wiping out innocent people such as the white population of Alderaan, but when militarily challenged, Tarkin proves his lack of military ability.

Anakin's two children, Luke and Leia, eventually find each other, and gang up with a mostly white, white-led Rebel force that eventually finds success against the evil Empire. Along the way they have the help of curious but friendly non-human beings, such as Chewbacca, a Wookie (or Asian), and the Ewoks (native Americans). Fortunately, there can be no interspecies mating with such groups, so friendship of white humans is possible with such "walking carpets."

At various times, the Rebels' faith in non-white humans is shown to be misplaced. Lando Calrissian betrays them when it suits his interests, and Admiral Ackbar (the lobster Rebel leader in Return of the Jedi) proves ineffectual in a great battle.

Although the mixed-race clones (Stormtroopers) tend to be good fighters, they are usually defeated by hard-fighting white humans.

Yoda is looked up to as a leader, but at a crucial moment Yoda tells Luke not to confront Vader, and Luke goes anyway. Had Luke not gone to confront Vader, his friends would have died on the Bespin planet. Since they were white humans, Yoda apparently did not care about their fates. Fortunately, Luke cared about his friends. But then it was Yoda's fault for turning the Jedi council into a weak and corrupt multicultural entity in the first place. So much for listening to little green aliens.

Various slimy aliens meet their grisly doom, from Greedo to Walrus Man to Jabba to Boba Fett to, let us pray, Jar-Jar. Other characters, like the Jewish "talking fly" slavemaster, apparently live for some time.

Anakin Skywalker (Darth Vader) had turned into one of the greatest race traitors in the history of the movies. Ultimately, though, he turns away from the Dark Side and helps his white son defeat the evil Jewish Emperor in the climactic battle that saves the Rebels, and therefore also the white race of human beings from the Imperial Death Star.

Although George Lucas could not have meant Star Wars to be a White Nationalist showpiece, the immense appeal of his movie epic is undeniable, especially among white audiences. In Star Wars, the white characters are righteous. They triumph over the aliens and enemy humans, including the Jewish characters. This is completely different from most movies today (few of them coming close to the success of Star Wars).

I place this in the public domain. It may be copied freely.

http://www.stormfron..._Star_Wars.html
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 02:55 AM

Look very closely at these pics:










This post has been edited by Hannibal: 03 November 2004 - 02:59 AM

"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
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Posted 03 November 2004 - 03:06 AM


"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 03:11 AM

please please please be joking
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Posted 03 November 2004 - 03:33 AM

"Out of Parsifal I have made a religion." [Adolf Hitler] Mein Kampf


"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 03:47 AM

Official Movie Poster for George Lucas' favorite film:

Triumph of the Will





Hitler's Star Wars:


This post has been edited by Hannibal: 03 November 2004 - 03:55 AM

"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
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Posted 03 November 2004 - 04:25 AM



"Tiny invisible..."


Okay, why is it so hard to understand midichlorians? Its the Master Race Theory of George Lucas. Tiny little microscopic thingies in your blood...

If you have the right amount in your blood, you get to be a Jedi!

Hmm...Heinrich Himmler had a special blood test for his Teutonic Knights...

So, if you have a low sperm count, errr....I mean midichlorian count...you are either a Jew or you simply are too 'inferior' to be a Jedi.

This whole master race theory fits in to the whole George Lucas Nazi Obsession don't you think?

If you listen close...you can hear them squeal...

yup...the will of the force...

They can eat a hundred times their
own weight in five minutes.

You know, you can only catch them at night.

They make this horrible high-pitched
noise. Sort of a tiny little scream.


Oh my God! I dropped him in your ear.


We can't let it nest in there! They can
multiply by masturbation!

Now put your ear
as close as you can to the floor.
It's the only way!


Oh my God! - here's the Queen! No one's
ever gotten one before. I've got to take this
to Professor Flammering.

With a little luck, you could be the last to
die a horrible death from this dreaded bug.
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 04:31 AM

"One basic principle must be the absolute rule for the SS (JEDI) we must be honest, decent, loyal, and comradely to members of our own blood and to nobody else. What the nations can offer in the way of good blood of our type we will take, if necessary by kidnapping their children and raising them here with us. "
--Heinrich Himmler
"Anyone who has the power to make you believe absurdities also has the power to make you commit atrocities."
~ Voltaire (1694-1778)


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Posted 03 November 2004 - 06:54 AM

Hey you guys join us it's fun to draw completely batshit connections between SW and the Nazis. Look at what else I can think up.

Evita Peron was a crazy lady who died at the end of a movie and her husband went on to do really bad stuff and hurt people.

Amidala was a crazy lady who died at the end of a movie and her husband went on to do really bad stuff and hurt people.

Maybe, like, Lucas is redoing the musical Evita only he had to use Ewin Macgregor cuz Antoniop Banderas wouldnt play Obi Wan. So Lucas must be trying to give us all the idea that we should elect a powerful woman and her husband to power. Maybe this refers to Hillary Clinton?

So in conclusion George Lucas is working in coersion with the saucer people who are under the direct orders of the reverse vampires who are cousins to the Luftwaffe and Bill and Hilary Clinton will fly planes for the nazi air force when the forth reich rises and Che Guevara and Ken Starr will have to rise from their graves to stop the unholy alliance.

See? It totally makes sense!

Quote

I don't know about you but I have never advocated that homosexuals, for any reason, be cut out of their mother's womb and thrown into a bin.
- Deucaon toes a hard line on gay fetus rights.
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